Vital Crises in Italian Cinema: Iconography, Stylistics, PoliticsUniversity of Texas Press, 1995 - 239 من الصفحات Italian films of the post-World War II period showed an extraordinary power and originality that sets them apart from others in the history of Italian cinema. In this book, P. Adams Sitney combines new interpretations of many of these films with original research into the intellectual milieu in which they were made in order to explain them as reflections of Italian national life during moments of vital self-definition. The films Sitney analyzes were made during the years 1945-1950 and 1958-1963. Taking six films from the first period and nine from the second, he focuses on three interrelated aspects: the ways in which they refer, directly or obliquely, to the social and political issues of their times; their relationships to contemporary currents in Italian literature; and their elaborations of a traditional iconography to which they actively contribute. Rossellini, Visconti, De Sica, Zavattini, Antonioni, Pasolini, Olmi, and Rosi are among the directors whose work he discusses. The films include Paisa, La terra trema, La dolce vita, and Il deserto rosso. |
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النتائج 1-3 من 21
الصفحة 85
... Umberto's landlady listens to operatic recordings when she aspires to marry the owner of a cinema and evict Umberto , her long - standing tenant . In Sciuscià the operatic parody crucially bridges the transition from the interview with ...
... Umberto's landlady listens to operatic recordings when she aspires to marry the owner of a cinema and evict Umberto , her long - standing tenant . In Sciuscià the operatic parody crucially bridges the transition from the interview with ...
الصفحة 106
... Umberto D ( 1952 ) De Sica finally achieved the fusion of " egoism " and social commentary he claims had been his aim in his first postwar films . His protagonist is a fussy and very proper pensioner who worked for thirty years in the ...
... Umberto D ( 1952 ) De Sica finally achieved the fusion of " egoism " and social commentary he claims had been his aim in his first postwar films . His protagonist is a fussy and very proper pensioner who worked for thirty years in the ...
الصفحة 235
... Umberto D , 12 , 79-80 , 85 , 87 , 97 , 106–107 , 185 , 189 Defoe , Daniel , 175 Delle Volpe , Galvano , 156 Delli Colli , Tonino , 180 Delon , Alain , 162 Devoto , Giacomo , 64 , 210 Di Venanzo , Gianni , 140 , 201 Dickens , Charles ...
... Umberto D , 12 , 79-80 , 85 , 87 , 97 , 106–107 , 185 , 189 Defoe , Daniel , 175 Delle Volpe , Galvano , 156 Delli Colli , Tonino , 180 Delon , Alain , 162 Devoto , Giacomo , 64 , 210 Di Venanzo , Gianni , 140 , 201 Dickens , Charles ...
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عبارات ومصطلحات مألوفة
Accattone Acitrezza allusion American Antonioni bicycle brother Cabiria camera Christian cinema italiano città aperta Claudia comic Communist Courtesy critical culture Dantean death deserto rosso dialect dolce vita Don Pietro dramatic economic miracle encounter episode erotic fantasy Fascist father Fellini Film Stills Archive film's filmmaker final Germans gesture Giovanni Giuseppe iconographic Il deserto rosso Italian cinema Italian films Italy L'avventura L'eclisse La dolce vita La terra trema Ladri di biciclette Lidia Liliana literary Manfredi Marcello Milan Miracolo a Milano montage moral Museum of Modern Nadia narrative neorealism Ninetto notte novel Ntoni Olmi opening Paisà partisan party Pasquale Pier Paolo Pasolini Piero police political postwar prostitute protagonist Resistance Ricci Roma Rome Rosi's Rossellini Salvatore Giuliano Sandro scene Sciuscià script sexual shot Sica Sica's Sicilian Sicily Simone social story stylistic terra trema tion Totò turns Uccellacci e uccellini Umberto Valastros Verga's viewer Visconti Vittoria woman Zavattini